Reviews

Pandora in the Crimson Shell: Ghost Urn by Shirow Masamune and Rikudou Koushi. Released in Japan as “Koukaku no Pandora – Ghost Urn” by Kadokawa Shoten, serialization ongoing in the magazine Newtype A. Magika: Swordsman and Summoner by Mitsuki Mihara and MonRin. Released in Japan as “Magika no Kenshi to Shoukan Maou” by Media Factory, serialization ongoing in the magazine Comic Alive. Released in North America by Seven Seas.

As I’ve said before, my tendency to give all Volume 1’s a shot even if I suspect they won’t be my thing at all gets me into a lot of difficulties, particularly with Seven Seas, which is very much an all or nothing company with me. They debuted two new titles this month, one of which not only has the amazing writer-artist team of Shirow Masamune and Rikudou Koushi (leaving Viz means he gets his u’s back), but managed to be on SDCC’s worst manga of the year list despite having been out a total of 5 days when the panel ran. The other one is a harem fantasy from my old nemesis, Comic Alive. Two otaku-pandering titles enter, only one can leave – which one did I like more?

Pandora gets off to a poor start with that cover, featuring our heroine bursting, semi-mude, from some sort of mosaiced plastic casing. We then get color pages of another heroine dressing up in tiny lingerie. This title definitely does not skimp on the fanservice, as we’ll see throughout the volume. The basic premise involves Nene, our heroine, getting involved with a confident young woman who may actually be a supervillain and her cyborg companion. Nene is also a cyborg and highly idealistic, saying that she wants to see world peace. Sadly, she arrives at her island destination to find a robot gone amok, and only she and Clarion (the other cyborg) can hope to stop it.

On pure skeeze factor, Pandora in the Crimson Shell wins hands down. The sequences where Nene has to finger Clarion in her vaginal ‘port’ are risible, though admittedly I wouldn’t put it past Shirow based on past titles. Speaking of which, the credits show quite a committee working on this title. Rikudou is the main artist in charge, but I had felt that I could only see his art style occasionally, and that may be why. His sense of humor, thankfully, is sometimes more apparent, particularly in the Excel-ish intrepid reporter and the dry tones of Uzal Delilah. The action sequences, which make up much of the second half, are… decent. Basically, if it weren’t for the horrible service and constant sexual assault hints, I may actually have enjoyed this. Sadly, the service and assault is all over the book.

Magika Swordsman and Summoner is our second title, and reads like a modern-day light novel checklist (appropriate, it’s based on a light novel). Our hero is the lowest of his class at magic school, not good for much yet but stirring water around. He’s also the only male in a class of females. He has an adopted sister (older than him, but acts younger as they only found that out recently), who harbors incestuous feelings for him. At the school, he meets a busty airheaded woman who turns out to be student council president, as well as an angry young blonde who seems very upset that he doesn’t recognize her, for some reason. Oh yes, you can also add in a quiet, stoic elf-girl and a shy girl who can’t deal with men. When he summons an amnesiac diva with no powers (which gets him in trouble, as she may be evil), he discovers he has to form a harem of 72 women in order to become the Harem King.

If you started throwing up halfway through that, you may get the feeling I had while reading this title. Everything about it is from Tropes 101, be it the Magic Academy stuff or the Harem stuff, though I admit 72 is aiming high – even Negima didn’t quite go for that many women. (Yes, it’s from reports of the houris that accompany Muslim martyrs after they die.) Seven Seas’ back cover notes that fans of Dragonar Academy and Zero’s Familiar will enjoy it, and I can’t argue with that – it’s certainly more of the same. The one redeeming feature is the hero, who seems a decent sort and is very uncomfortable with the whole harem concept. We’ll see how long that lasts. Or rather, other readers will.

In general, if you’re going to be a bad manga and keep me interested, it’s best to do it with style. Neither of these titles are things I’d recommend to anyone except SS’s core otaku audience. But honestly, Ghost Urn made me wonder how the cliffhanger might be resolved, whereas with S&S I just didn’t care. On balance, I have to give the edge to Shirow, Rikudou and company here.

By Kaori Yuki. Released in Japan as “Kakei no Alice” by Kodansha, serialization ongoing in the magazine Aria. Released in North America by Yen Press.

I’ll admit that I’ve always found Kaori Yuki titles hard to get into, and even harder to review. There is a certain amount of ‘aesthetics preferred over plot and character’ to her work, which makes it highly entertaining and visceral but leaves a person frustrated when they have to talk about it. There’s also giant piles of corpses in most everything she’s done, usually of the most sympathetic women in the book, and that applies here 100%. And of course the grand guignol horror of it all. Oh, and this is yet another of what has become my least favorite genre, the survival game. Despite all that, this is still a compelling read, and I had no trouble getting to the end of Volume 1, though I’m not exactly sure where it’s going beyond ‘chaos’.

Our heroine is the Alice seen on the cover – except not really. She’s actually Stella, a normal dark-haired high school student who is part of a very eccentric family of orphans who were adopted after a tea party filled with mass child slaughter. Every month the family goes to a tea party that’s held by their amazingly insane mother, who this month tells them that the time has come for them to fight each other to the death to see who gets to be the next family head and have access to a medicine that makes a person young and beautiful even in their old age. Some of them are, of course, reluctant to do this, so each of them has a hostage who will be killed if they don’t comply. To make matters worse, none of them are exactly stable to begin with – certainly not Stella, who snaps in traumatic situations and transforms into the blood-spattered Alice seen on the cover.

If this sounds a bit over the top, welcome to the world of Kaori Yuki. I also forgot to mention Alice’s stalker-cum-protector, Tsukito, who carries around voodoo dolls to curse people and is obsessed with Stella, yet halfway through shows up to become her new bodyguard and who we’re now supposed to feel sympathy for, despite the fact that he was a real creep earlier. As for the rest of the family, the other one who merits mention is Zeno, Stella’s ‘big brother’, who is killed early in the volume but then revived, only for Stella to find his personality is quite a bit different. She should be used to this, though, given how she does a 180 degree turn into murderous grinning killer when faced with horrible situations.

I’m not sure I actually enjoyed this – the horror is really grotesque in places, and there’s a sequence with a toy bunny getting restuffed that should come with a trigger warning. But it’s certainly compelling and gives a visceral thrill. I wouldn’t read it if you want to see what happens next with the plot and characters. But if you enjoy Kaori Yuki’s terrifying manga titles, and want to see lots of action and corpses, Alice in Murderland is right up your alley.

By Reki Kawahara and abec. Released in Japan by ASCII Mediaworks. Released in North America by Yen On.

One of the problems with a series that’s narrated in first person, which Sword Art Online is (yes, sorry, Asuna fans, this is again all Kirito), is that it can be harder to see the flaws inherent in the protagonist, since you have to remove yourself from the narrative voice to see what’s really going on. Last time we saw Asuna starting out in Aincrad trying to find a noble way to die, and Kirito had to show her that there are better things to try for than that. But he has issues of his own – he’s bad at dealing with people, as he both admits himself and we see time and time again, making bad jokes in order to try to get past the fact that he finds it hard to gauge what others are thinking. And while I think he’s right that Asuna could grow to be a great inspiration to others trapped in the game, I worry he may be putting her on a bit of a pedestal, particularly as he tries to ensure the other players don’t see her as a villain.

Kirito is also having to have genuine interaction more than he expected, as the elf that they meet up with, Kizmel, not only doesn’t die – as she did in the beta Kirito played – but proves to be far more well-rounded and realistic than any NPCs he’s come across before. Both he and Asuna over the course of the book are amazed at how Kizmel grieves for the sister she lost, has mysterious, prophetic dreams, and seems to be having flashbacks to the beta test that Kirito participated in. This helps to show how SAO is not just another game, but it also lends a bit of intrigue to the series going forward, as this isn’t really explained much beyond “wow, Kayaba was a better programmer than we thought”. Luckily, without spoiling much, I will note that Kizmel survives, and I expect we’ll see her again in Book 3.

The other big focus of the book is the reveal of Morte, and what kind of player he is. Fans of the SAO anime and Japanese fans who read the books in order may be a bit ahead of those coming at the novels in NA-publishing order, as they are aware of the guild called ‘Laughing Coffin’. I’m pretty sure that’s what we’re seeing the genesis of here, as Kirito chillingly runs into a player who simply has the desire to kill, because he realizes that he can do it here and get away with it. The duel itself is the high point of the novel, menacing, action packed, and a bit terrifying. After that, we get a fight that doesn’t arise, as Kirito (and Asuna, who thankfully tails after him when he’s being a loner idiot) talks down two nascent guilds from fighting against each other and helps them realize the goal is for everyone to work to escape the game.

As for my review, those who read me regularly know the less I talk about the actual qualities of the book and the more I theorize, the better I like it. Sword Art Online Progressive’s prose is more mature than the original works, its steady pace (we only get one floor this time around) allows it to grow more naturally, and Kirito and Asuna are clearly destined for each other but are both in denial, which is cute. (For a killer drinking game, try drinking every time Asuna elbows Kirito in the gut. Actually, don’t do this.) Honestly, I’d recommend this series to an SAO newbie first, even if it does have a lot of callbacks. Probably my favorite SAO novel to date.

By Atto. Released in Japan by Media Factory, serialization ongoing in the magazine Comic Alive. Released in North America by Seven Seas.

There is, as most fans know by now, a large market in Japan, and a smaller one in the West, for manga for grown men that involve groups of young girl students doing cute things in a comedic and laid-back way. K-On! is perhaps the most obvious example, but there’s also Sunshine Sketch, GA Art Design Class, etc. Most of them tend to involve ‘girls in school doing activity X’. Non Non Biyori (Biyori is ‘weather’, but I think the title is meant to sound nonsensical) doesn’t even get to that point – the series features a group of four girls, and occasionally their teacher, in a country school far removed from anywhere in particular, doing adorable things. That’s the plot.

The girls are all eccentric, to varying degrees. Hotaru is the ‘normal’ one, being the transfer student just moved from the city, but she’s got quirks too; she’s 11 years old but looks about 17, and she has a big crush on another girl, Komari, though as is standard in these sorts of titles the yuri is one-sided and is there for humor and not much else. Komari is Hotaru’s opposite, as shes 14 but short and childlike. She tries to act the older sister, but her personality keeps failing her. Her younger sister, Natsumi, is 13. She’s the troublemaker, bad at school and tends to try to get a rise out of everyone else, particularly her sister. And Renge, who is 6, is precocious but strange, with that triangle mouth that Lucky Star readers will recognize (and that’s another series that this manga is like.)

You won’t find much originality here (even the teacher, Renge’s older sister, is the usual ‘laid back, one of the girls’ types we’ve seen in Azumanga, etc.), but it succeeds in its one goal, which is being cute as a button. Each short chapter involves an amusing situations, and the laughs come naturally from it. The class rabbit has escaped its hutch and must be captured. The teacher tricks the class into working on her family’s rice field for a day. Komari watches a horror movie and gets scared, so Natsumi trolls her. It fulfills its demographic target amiably. There’s also a minimum of fanservice, with no bath scenes or underwear shots that I could spot. Given this runs in Comic Alive, I’ll consider that a big victory.

There’s a short, unrelated manga at the end that involves a girl who dreams of being in a dream, which is even weirder than the main manga but also probably the weakest part of the volume. Best to stick with the main series. Honestly, this is the sort of series that, based on its premise, you’d automatically assume was a 4-koma – just like every other series above that I compared it to. But no, it’s fashioned like a regular manga, which means you don’t get the gag at the end of every page feel. It allows the humor to be more laid-back and relaxed. Which is a good description for the entire volume.

By Reki Kawahara and Shimeji. Released in Japan by ASCII Mediaworks. Released in North America by Yen On.

You have to figure that Reki Kawahara is definitely listening to his critics. Sword Art Online features Kirito, who does have deeper issues than people give him credit for, but in the end is pretty much defined by how cool he is. Accel World has Haruyuki, designed to be different, a short, pudgy guy who’s spent much of his life being bullied and has low self-esteem. And now with The Isolator, we have Minoru, whose entire family was massacred while he was hidden in the pantry, tries to live his life in a constant state of the present by never thinking about any past memories, and is, as we see towards the end of the book, actively suicidal much of the time. When Yen talks about angst on the back cover, it’s not kidding.

The girl that you see on the cover is not, of course, the star. Indeed, posing demurely on a chair in the middle of what seems to be a garden of some sort does not actually happen in this book. Instead, Yumiko seems to serve as a sort of inspiration and mentor for Minoru, showing up to save him and being a member of a shadowy organization dedicated to fighting evil. You get the sense that most of her backstory and depth is being held for future volumes. Alas, she’s probably the best developed female character here. The other two, Minoru’s new friend Tomomi and adopted big sister Norie, are there to serve as bait in order to spur our hero onward and nothing more. A pity, we’re seen Kawahara can write better women if he tries.

The villain fares better – a lot better. One of my biggest criticisms of Fairy Dance was the two-dimensional patheticness of its antagonist. The Biter may in fact remind a few people of Sugou, but he’s a lot scarier, a lot more dangerous, and his backstory lets you know where he’s coming from. Indeed, his memories of his stressful childhood and the damage it did to his teeth are harrowing, some of the best writing in the book. That said, he’s also a terrifying psychopath, particularly when combined with the red gem possessing him, and seeing how much he Just Won’t Die forms much of the climax of the book.

As with most Kawahara books, the action may be the biggest reason to read. There are two main fight scenes, and each are told crisply and with care to detail, thrilling the reader into continuously turning the page. In between, we mostly get Minoru’s POV, which can be… disheartening. He’s a messed-up young man, clearly suffering from bad PTSD that is not particularly being treated. It’s realistic yet horribly sad that his goal is to have the chief of the organization he joins at the end (who can erase memories with consent) erase the memory of his existence from everyone who knew him. And his life goals seem to have progressed from ‘I will throw myself in the river and rejoin my dead family’ to ‘I will die nobly in battle and rejoin my dead family.’ It’s scary. Even his superpower is related to cutting himself off from everything.

The second volume only just came out in Japan this February, so don’t expect it till at least next spring. Still, fans of Kawahara’s other works, particularly those who like to see young men shouting at each other and fighting with supernatural powers, will enjoy this.

By Eiji Otsuka and Housui Yamazaki. Released in Japan as “Kurosagi Shitai Takuhaibin” by Kadokawa Shoten, serialization ongoing in the magazine Young Ace. Released in North America by Dark Horse.

It’s been a long time since the last volume – two and a half years, in fact – even though the manga is still clipping along at a reasonable pace in Japan. Sadly, the reasons for this are the same reasons that we aren’t seeing Eden: It’s an Endless World or Translucent. Kurosagi Corpse Delivery Service doesn’t sell well enough to justify its continuing expense. That said, Dark Horse are certainly giving it more chances than the other two (the potential movie rights help a lot), and Carl Horn talks about the Omnibus Editions coming out in the fall – specifically, that we should get folks to buy them if we want to see Vol. 15. Like corpse delivery, manga can be a cutthroat business.

What we get from this volume are 3 solid stories, all of varying types, which show us why this series is such a hit. The first is one that cries out to my Higurashi loving soul, as the premise is a corrupt politician who is trying to get a dam put in that will destroy a backwater town, and the dam protests that happen as a result. Of course, this politician is taking care of the problem in a more murderous way, the better to involve our heroes. What’s more important here is the introduction of a new sort-of antagonist, who has created an app that lets him find corpses and see their thoughts, and thus creates his own fake Corpse Delivery Service to lure out the real one. This series is fond of picking up plot arcs and dropping them, so I suspect he may not show up for a bit. He certainly makes himself known, though, casually solving the murder of Numata’s family just to show off.

The second story explains the title portraits, drawn in a simplified “western” style. We get a couple of chapters of what the series would look like transplanted to America, with a bit more snark and grotesqueries, but the same old horrible murders, this one of a couple with a fancy tattoo cut off of their bodies. It was cute, but honestly made the least impression on me, and I felt the comedy ending was a bit forced.

The last part gets back into the dangerous political waters this series is also known for – it’s courted controversy several times, bringing up stuff the government would rather the Japanese people forget. There’s no real-life comparison here, but certainly it’s a great example of bureaucracy taken to fatal extremes, particularly when up against a politician trying to cut down on wasteful practices. Ranou’s death is sudden and horrific, made all the more tragic by the fact that we actually meet and sympathize with her first – she’s someone Sasaki can intern for, so we know she’s respectable. She gets the last word, but sadly only in the way all the dead people in this series do.

This was a good, solid volume of the series that will make fans happy it came out. As for those who haven’t read the series – please, I beg you, get the first omnibus when it comes out this September.

By Yuyuko Takemiya and Zekkyo. Released in Japan by ASCII Media Works, serialization ongoing in the magazine Dengeki Daioh. Released in North America by Seven Seas.

I’ve frequently heard companies asked why they don’t get closer to Japanese release dates, and why they think ‘caught up with Japan’ means still being one or two volumes behind. Well, Toradora! is an excellent answer in and of itself. Here is a series where we are definitively caught up. The manga came out in Japan in February, and SS has it out at the end of June. That’s an amazing turnaround. But Volume 6 came out in February 2014, and given that the 8th volume is not remotely close to being out in Japan, we could be looking at Fall 2016 to resolve the plot points this volume introduces. It’s hard to keep a fanbase with 16-month breaks between releases. Especially with the anime long done, and the light novels all fan translated – and also done.

And this is a shame, as the manga adaptation is really excellent. We resolve the tortuous cliffhanger from last time, with Taiga’s father being the worst man ever. I was particularly happy that my critique of Minori from last volume was called out… by Minori herself, who admitted she didn’t tell Ryuuji about Taiga’s father as she was jealous that she wasn’t Taiga’s first choice for comfort. (The OT3, always strong on this title, was particularly strong here, particularly given the results of the footrace to be King of the School). As for Taiga’s dad, his end seems oddly fitting – after we realize what he’s really like, he’s simply forgotten about.

The rest of the book begins to adapt the 6th light novel, meaning we’re finally past the halfway mark of the series. The strong, confident woman on the cover would be Kanou, the queen of the school and class president, who I’m sure we’ll get to know better soon, but for the moment seems to be a bit cold and harsh. The other mysterious boy on the cover is, surprise, Kitamura, who has a complete breakdown on learning Kanou is transferring overseas in a week, and it leads him to pointlessly “rebel” by dyeing his hair blond. Kitamura has shown occasional hidden depths throughout the series, but this is the first time we’re really seeing what makes him tick – unsurprisingly, like the rest of the cast, he has a lot of internalized issues he avoids.

As for the rest of the volume, it’s exactly what you would want from Toradora!. There’s a lot of hysterical comedy, much of it involving Ami. There’s many heartwarming and tearjerking moments, such as seeing Taiga beat herself up when she realized that Kitamura is suffering and she hadn’t seen it. There’s also a reminder that our lead couple are in fact still supposed to be in love with other people – the rumor that Taiga and Kitamura are dating both angers and delights her, and Ryuuji and Minori have never felt closer. Not that anyone suspects this title will end – whenever it does end, possibly in 12 years time – with anyone but Ryuuji and Taiga. For a title that is theoretically a harem manga, it’s the sort of harem manga you could happily introduce to your parents, so to speak. Pickup this volume and remind yourself why it’s great.